![]() ![]() ![]() And the five of us that were all working together, we all know each other really well. Webber: There were five of us who made this movie. NFS: How did you help people feel relaxed? I can imagine that there's sort of a learning curve for people who aren't used to having a camera around. I guided us and anchored us to where we needed to be. And I think that what allows it to all be possible is me being in the film and directing at the same time. "I'm interested in making films that make people feel more connected to humanity and to the world." We're there, in character, in the moment, letting things unfold. Those are moments that are just kind of pure vérité. For example, my brother talking to his dad, the scene with my dad in the end.we didn't repeat that. It was right 'cause we'd have earned it in the story to be there. It was great knowing that because the stakes in the story were already there-the emotions are all clear, and the set up is very clear-anything that on set within that moment was going be a gift. They don't feel like it in certain moments, but then there are a lot of scenes where the setup is there. It's really interesting to see how many scenes play out line for line. So I wrote scenes that were refined and had dialogue with suggestions. ![]() I had a super clear outline of this story that I wanted to tell and all the emotional beats. Webber: Both! So, the cool thing was that I obviously know what's going on with my brother in his life, and I know my mom's story and what she was up against, and I was able to fold that into the script that I wrote. Webber sat down with No Film School after the film's premiere at SXSW 2016 to discuss his new approach to filmmaking, which he has termed #realitycinema, and why he would rather continue to make films with limited resources. As a result, Flesh and Blood is as messy and unfussy as the stuff of life, and its story is riddled with much of the same disappointment and hope. "I wanted to use the lack of resources as my strength, not a limitation."Įveryone plays a version of themselves in this unconventional family story, which weaves together scenes of straight vérité, such as when Webber meets his heroin-addicted father for just the second time in 30 years, and loosely scripted scenes from everyday living. Though Webber has resolved to return to life as a free man with practiced grace and optimism, the world around him has changed little-it's still plagued by the temptations and injustices that contributed to Webber's imprisonment in the first place. The film opens as he is released into the inner-city Philadelphia streets, where he grew up impoverished and intermittently homeless, raised by his single mother, Cheri Honkala, now an activist and Green Party politician. The only thing that's fabricated in Mark Webber's documentary-fiction hybrid Flesh and Blood is its inciting incident: Webber, who plays himself, did not, in reality, serve prison time. Mark Webber's 'Flesh and Blood' is a docu-fiction hybrid starring his unconventional real-life family. ![]()
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